Palermo Cathedral
St. Mary Magdalene

The lost chapel

In 1130, Elvira , the wife of King Roger II , had a chapel dedicated to St Mary Magdalene built as a mausoleum for the royal family. Its construction came shortly after another chapel was built to the north on the opposite side, on 15 May 1129, at the behest of Roger II, dedicated to the Crowned Goddess. The Magdalene Chapel was built close to the Cathedral, on its southern front, corresponding to the presbytery area, “ in cornu epistolae “. We have information on this building because it is mentioned in the ancient chronicles and is clearly identified in the 1187 diploma, written by Archbishop Gualtiero as a petition to the King, requesting the use of the chapel following the transformation of the sacred temple. Palermo Cathedral had remained virtually unchanged in its layout since 1071, i.e. for almost 100 years, when the Normans entered the city and converted the great Gami Mosque , previously the city’s mother church during the Byzantine period, to a Christian place of worship. Over time, traces of this chapel were lost, and many documents that could provide evidence of its exact location were lost around the middle of the 19th century. This led to the belief that the chapel had been demolished during this construction work. Nor is there any evidence left of this in the book “De Principe Templo Panormitano” (1728), transcribed by priest Giovanni Maria Amato , when he quotes the text of the aforementioned diploma of Archbishop Gualtiero.

The paradisiacal “Conca d’oro” that embraces Palermo: a name with countless faces through time

A controversial interpretation

The chapel of san Castrense: an important renaissance work

The Cefalù cathedral: a construction yard undergoing a change between a surge of faith and control over the territory

A compositional design that combines nordic examples with new artistic languages, over the centuries

The towers and the western facade

The columns of the nave: the meticulous study of the overall order

The senses tell Context 1

The Chapel of the Kings

Thirteenth-century iconography decorates the nave’s wooden ceiling, designed with new solutions

Palermo: the happiest city

Worship services

A new Cathedral

The mosaics of the apses

The Kings’ Cathedrals

The dialogue between the architectures of the monumental complex

Layers of different cultures decorate the external apses

Squaring the circle

The decorated facade

Roger II of hauteville: a sovereign protected by God

A palimpsest of history

Interior decorations

The side Portico: a combination of elegance and lightness of form

The chorus: beating heart of the cathedral

The chapel of St. Benedict

The original design

Under the crosses of the Bema

Tempus fugit: a strategic project implemented in a short period of time

The liturgical spaces of the protesis and the diaconicon

The cemetery of kings

The southern portico

The area of the Sanctuary

Artistic elements in Peter’s ship

A remarkable ceiling

The rediscovered chapel

The king’s mark

A space between the visible and the invisible

Two initially similar towers, varied over time

The longest aisle

From the main gate to the aisles: an invitation to a journey of faith

The cultural substrate through time

The Cathedral over the centuries

The balance between architecture and light

From the Mosque to the Cathedral

The side aisles

Cefalù: settlement evidence through time

The transformations of the hall through the centuries

The links between the hauteville family and the monastic orders in Sicily

The Great Restoration

The beginning of the construction site

Mosaic decoration

Norman religious architecture with islamic influences in Sicily

The lost chapel

Gardens and architecture as a backdrop to the city of Palermo

Transformations over the centuries

The architectural modifications ti the cathedral building after the death of Roger II and the transformations of the cloister

The towers facing the facade used as bell towers

Survey of the royal tombs

The Great Presbytery: a unique space for the cathedral

Porphyry sarcophagi: royalty and power

The mosaics of the presbytery

The medieval city amidst monasticism and feudal aristocracy

A mixture of styles pervades the floor decorations

Ecclesia munita

The Bible carved in stone

The construction of Monreale Cathedral: between myth and history

The Virgin Hodegetria

A Northern population

The stone bible

Biblical themes enlivened by the dazzling light of the stained – glass windows overlooking the naves

The marble portal: an intimate dialogue between complex ornamental aspects and formal structure

The chystro: a place between earth and sky

The Chapel of St. Mary Magdalene

Beyond the harmony of proportions

Roger II’s strategic design

A polysemy of high-level artistic forms and content

A tree full of life

The chapel of the crucifix: an artistic casket based on a previous model

The plasticism of the main portico and Bonanno Pisano’s Monumental Bronze Door

Characteristics of religious architecture in the romanesque period

A cloister of accentuated stylistic variety

The Gualtiero Cathedral

A chapel by an unknown designer based on repeated symmetries